You might think you know about Louis Riel and his place in Canada’s History, but I can guarantee you’ve never heard it told like this! Frances Končan’s Women of the Fur Trade, which is being presented by the National Arts Centre Indigenous Theatre and Great Canadian Theatre Company, looks at this tumultuous time in Canada’s early days through the eyes of three women who are stuck in a fort along the Red River near what is now Winnipeg. A vibrant, modern text, heartfelt message, and impressive performances make this production, directed by Kevin Loring, an important play to witness.

Women of the Fur Trade centres on the period leading up to the Red River Rebellion of 1869. Helmed by Métis leader Louis Riel, this rebellion had a profound impact on the establishment of Manitoba as a province. We see the majority of the action through the eyes of three women, Marie-Angelique, Eugenia, and Cecilia, who live in a fort and rarely leave. Marie-Angelique, who is also Métis, begs for Riel’s help to liberate them from the fort, while Cecilia trusts in her fellow settlers to ensure their safety. Eugenia’s a fur trader herself, and while she’s able to move freely at the beginning of the story, her mobility is stifled the closer the conflict gets. Meanwhile we get snippets of Riel’s trepidation and concern about becoming a hero and legend meanwhile his pseudo-valet Thomas Scott is not making things much easier for him. This play certainly endeavours to fill in parts of our nation’s history which weren’t taught to us in school, yet it does so with equal parts humour and gravity.

I want to briefly talk about the anachronisms in this play; they’re such a brilliant tool to make the story feel modern while adding a touch of the absurd. My favourite by far are the Canada Post baskets. They even make a joke about how unreliable the postal system is, and I could not help but laugh every time they appeared. I also love the semi-mangled version of the national anthem which would play as well; it made for so many great laughs throughout the production. Even the set design included portraits of famous men like Nikola Tesla and Andy Warhol who would certainly not have been on the walls of an 1800’s fort. They also reference modern films, yet these references are so effortlessly included that you almost forget for a minute that movies hadn’t even been invented yet! These anachronisms also allude to the fact that these issues are not purely historical; that today’s Indigenous people face many of the same issues as they did over 150 years ago. While adding levity, there is also a grounding force behind them.

Lauchlin Johnston’s set design and Vanessa Imeson’s costume design for this show are full of meaningful symbolism and cultural gravitas. The ribbons which create the backdrop of the set mirror the ones on the character’s costumes. And the way that the portraits function as walls is masterful; especially as the set unravels along with the women’s faith in the strength of the fort. The design of the costumes themselves is brilliantly done: Cecilia’s costume perfectly befits a European settler of the 1800’s, while Eugenia wears the traditional garb of her people. Marie-Angelique is unique, as she is Métis and therefore walks in both worlds, her traditional ribbon dress is styled and overlaid with European design and lace. Likewise, Louis Riel not only wears a Métis sash, his entire suit is patterned to look like one. Like Cecilia, Thomas Scott’s formal suit paired with some tartan immediately announces his status as Other. The costumes allow the audience to immediately understand who the characters are through their clothing, and provide a reminder of the social strata which they occupy.

The all Indigenous cast of Women of the Fur Trade give stunning performances. Kelsey Kanatan Wavey, Cheri Maracle, and Lisa Nasson play the titular women of the fur trade. Wavey gives their character an innocence which eventually turns into ferocity throughout the play; they’re a joy to watch. Maracle’s Cecilia is initially oblivious to what her companions go through, but her change in opinion and demeanour throughout the show is heartwarming and hopeful. The bravery and tenacity of Nasson’s Eugenia shines in every moment she’s on stage, yet she’s also not without her moments of comedy as well. Jonathan Fisher’s Louis Riel is truly larger-than-life, befitting the Canadian hero. Jesse Gervais makes Thomas Scott one of the most loveable villains I think I’ve ever encountered. He gives Scott a genuine heart, despite his more greedy motives.

I’m grateful to have been able to witness this truly important piece of theatre. Women of the Fur Trade is the perfect combo of wit and history to help us start on our way to truth and reconciliation. You won’t want to miss this fantastic revival. For more information and tickets, visit: https://www.nativeearth.ca/shows/women-of-the-fur-trade/

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Cover Photo: Kelsey Kanatan Wavey as Marie-Angelique, Cheri Maracle as Cecilia, Lisa Nasson as Eugenia. Photo by Kate Dalton.

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